Proefskrif ingelewer vir die graad Doktor in die Wysbegeerte (Musiekwetenskap) in die Fakulteit Lettere en Sosiale Wetenskappe aan die Universiteit Stellenbosch
Africa Open Instituut vir Musiek, Navorsing en Innovasie
Studieleier: Prof. Willemien Froneman
Desember 2023
Deur hierdie proefskrif elektronies in te lewer, verklaar ek dat die geheel van die werk hierin vervat, my eie, oorspronklike werk is, dat ek die alleenouteur daarvan is (behalwe in die mate uitdruklik anders aangedui), dat reproduksie en publikasie daarvan deur die Universiteit van Stellenbosch nie derdepartyregte sal skend nie en dat ek dit nie vantevore, in die geheel of gedeeltelik, ter verkryging van enige kwalifikasie aangebied het nie.
Inge Engelbrecht
Desember 2023
Kopiereg © 2023 Universiteit van Stellenbosch
Alle regte voorbehou
Die koortjie het nog altyd ’n peripheral space in die meer conventional kerkmusiek practices en discourses in die coloured kerk communities ge-occupy. Dit was hierdie marginality wat vir my problematic was en wat ek wou address. Die storie van die koortjie unfold gradually deur die tesis. Hierdie unfolding loop parallel met die narratives van die figure wat in die tesis feature, en hierdeur word issues soos history, cultural en spiritual identity op ’n unieke manier address. Consequently is die narrative van die koortjie interwoven into die tapestry van die lived experiences van hierdie belangrike figure, asook in my eie discoveries. Omdat ek ook ’n outsider of sorts is wanneer dit by die koortjie kom, ontdek die leser wat die koortjie is, wat dit entail en hoe dit function partly deur my oë asook deur die oë van die experts, en die meestal real-time documenting reinforce die notion van ’n gradual unfolding. Linguistically het die tesis vanaf die proposal stage deur ’n taal shift van Engels na Afrikaans gegaan wat eventually die boundary tussen die twee tale blur. Dus represent die tesis ’n bepaalde linguistic expression wat, nes die koortjie, nie net meer op die fringes van wat as standaard beskou word, exist nie. Moreover, is die Afrikaans wat in hierdie tesis gebruik word partly ’n reflection van die linguistic traits wat generally met coloured mense ge-associate word en is especially representative van die narratives van die “mense wat feature innie storie” (Arendse, 2021).
Die structure van die tesis is deur die narratives van die respondente en my eie etnografiese beskrywings bepaal. Die eerste twee hoofstukke word ge-underscore deur die theme van die commons en undercommons (Harney & Moten, 2013) soos dit pertain tot die spaces wat die karakters involved in exist en daagliks in moet function en navigate, asook die rol wat die koortjie in hierdie spaces speel en in turn represent. In die derde hoofstuk word die development van die koortjie extend deur middel van die intergenerational connection tussen twee prominente figure in hierdie genre en in die Suid-Afrikaanse gospel industry. Die koortjie se evolution word deur die tension wat deur hierdie figure se onderskeie musical en spiritual timelines create word, gemap, tensions wat deur comparable tog contradicting sensibilities gehighlight word. Hoofstuk vier address en spotlight die issue van colouredness deur ’n quasi-conversation met die skrywer van ’n spesifieke bron waarin stereotypical commentary oor die supposed problematiese mindset en thinking van coloured mense bespreek word. Die issue van colouredness word verder op expand in hoofstuk vyf deur op die relationship tussen die koortjie en colouredness te fokus. Dit word gedoen deur die origin van die koortjie in terme van coloured kerkmusiek te bespreek, asook die notion van ownership en curatorship van die koortjie deur members van die coloured community. In hoofstuk ses word die koortjie as ’n code switching device geharness wat as die facilitator van hierdie switching tussen die physical en metaphysical inspect word. Hierdie idee van die koortjie as metaphysical code switching device word dan in hoofstuk sewe in meer detail ondersoek en word daar gekyk na hoe die act van trancing (Poloma, 2003; Becker, 2004) deur praktyke wat met die koortjie gepaardgaan, soos die koordans en ‘die trap’, teweeggebring word.
Die tesis word conclude met ’n Epilogue wat die narrative van die koortjie proverbially full circle bring deur die koortjie terug na die space van die undercommons te bring. Hierdie deel serve ook as ’n voorbeeld van die possibilities nie net vir verdere navorsing in soortgelyke cultural musiek nie, maar ook vir die continued proliferation van knowledge oor die existence, practices en importance van die koortjie in Suid-Afrikaanse cultural en religious studies.
Keywords: koortjie, koordans, coloured identity, colouredness, coloured musiek, kerkmusiek, commons, undercommons, code switching, metaphysical, worship, Pinkster, trancing.
Ek is uiters dankbaar teenoor sekere mense en institutions wat invaluable contributions tot hierdie studie gemaak het:
Die Suid-Afrikaanse Akademie vir Wetenskap en Kuns vir die substansiële beurs wat ek vir hierdie studie ontvang het. Ek is die organisasie ewig dankbaar.
Die Myra Chapman Educational Trust vir die finansiële ondersteuning met registrasie in my eerste jaar van studie.
My studieleier professor Willemien Froneman wat konstant moes code switch om my linear brein te accommodate. Dankie dat jy potensiaal gesien het waar ek nie kon nie, dat jy my gepush het buite my self-imposed limitations en doubts, vir die hoop wat jy aan my gegee het toe ek geen gehad het nie, en vir die lig wat jy vir my aan die einde van die tonnel opgehou het toe ek niks voor my kon sien nie. En dat jy iets unique en moois uit al my notes kon sien en uit die projek help put het.
My mentor professor Stephanus Muller vir jou deurlopende advies en ondersteuning tydens my PhD-studie. Jou enorme kennis en abundant experience het my encourage om aan te hou.
Al die interviewees en koortjie experts vir julle unparalleled kennis en bereidwilligheid om deel van hierdie projek te wees. Julle het hierdie tesis geskryf: Philip Vermeulen en Marthenus Cloete; Pastor Simon Seekoei en Connie Seekoei; Jonathan Rubain en Alton Zakay; Apostel Fredrico Hendricks en profetes Larissa Hendricks en die Bel-Perezim gemeente. Spesiale dank en appreciation aan Mariana Hanse wat altyd beskikbaar was vir either ’n vinnige chat of ’n in-depth conversation, en dat jy al my miljoene vrae geduldig beantwoord het.
Die pastore en gemeentes van die End Times Revelation kerk, Jireh Outreach Church, Pinkster Sending RSA, die Pentecostal Rapha Mission International Jahova Ministry en Faith Christian Church vir toegang tot u worship space. Ek waardeer dit opreg. Mag die Here u seën.
Ek wil ook graag vir Africa Open Instituut vir Musiek, Navorsing en Innovasie (AOI) bedank vir die finansiële ondersteuning hierdie laaste jaar. Ook my kollegas en studente van die conserve vir julle support en geduld met my die afgelope vier jaar van studie.
Die herri-span, Aryan Kaganof en Andrea Rolfes vir julle fantastiese creation. Ek sou dit nie kon envision nie.
Ten slotte wil ek graag my dank uitspreek teenoor my familie en vriende. My ma Cynthia, broers André en JJ, skoonsussies Ra-eesha en Jade, niece Zarah en nephew Zayn, niggie Hilary en peetkind Beauden, en oom en ouboet Riaan. En especially Amira Brown, my constant champion; Angelique, my suster, vir al die gebede; Marc Röntsch wat altyd vir my klaagliedere tyd gemaak het, my konstant encourage het en my altyd geground het; oom Koos Nel en Christiaan Nel, my familie in Stellenbosch wat soms my trane moes afvee en my baie keer moes voed; Felicia en Stemray Lesch vir die encouraging lunches, dinners en wyn; my twin, Christo Hanse, vir jou scriptural encouragement; Sonette Fourie en Santie de Jongh vir julle hulp en belangstelling in my vordering; Anke Froehlich en die Genadendal-projek span wat my lewe baie makliker gemaak het; en Edwin Abrahams en Craig Williams wat so baie van my skouers af geneem het.
Sonder julle almal se geweldige begrip en encouragement die afgelope paar jaar, sou dit vir my onmoontlik gewees het om my studie te voltooi.
En aan my God al die eer.
Aan die koortjiegemeenskap wat nog nooit in hulle toewyding aan die Here verslap het nie en wat Hom nog steeds geesdriftig dien (Rom. 12:11).
Alle foto’s wat in hierdie tesis ingesluit is, is deur die outeur tensy anders aangedui.
Bronnelys.
Achmed, S. 2012. On being included. Racism and Diversity in Institutional Life. Durham: Duke University Press.
Adhikari, M. 1991. Between black and white: the history of coloured politics in South Africa. Canadian Journal of African Studies, 25(1):106-110.
Adhikari, M. 2005. Contending approaches to coloured identity and the history of the coloured people of South Africa. History Compass, 3(1):1–16.
Adhikari, M. 2005. Not White Enough, Not Black Enough: Racial Identity in the South African Coloured Community. Cape Town: Double Storey Books.
Adhikari, M. 2008. From narratives of miscegenation to post-modernist re-imagining: toward a historiography of coloured identity in South Africa. African Historical Review, 40(1):77-100.
Adhikari, M. 2013. Burdened by race: Coloured identities in Southern Africa. Cape Town: UCT Press.
Anderson, A. 2009. New African Initiated Pentecostalism and charismatics in South Africa. Journal of Religion in Africa, 35(1):66–92.
Anderson, B. 2009. Affective atmospheres. Emotion, Space and Society, (2):77–81.
Arendse, A. 2021. Poppehysie. Ongepubliseerde magistertesis. Makhanda: Rhodes Universiteit.
Becker, J. 2004. Deep listeners: music, emotion, and trancing. Bloomington: Indiana University Press.
Bhabha, H. 1994. Location of culture. Londen: Routledge.
Blommaert, J., Collins, J., en Slembrouck, S. 2005. Spaces of multilingualism. Language & Communication, 25(3):197-216.
Bloom, L. 1967. The Coloured People of South Africa, Phylon 28(2):139-150.
Blum, L. 2015. The Colour of Our Future: Does race matter in post-apartheid South Africa? Johannesburg: Wits University Press.
Bobeje, B. 2020, 9 Maart. Coloureds of Southern Africa have culture (life, influence, speak, living). City-Data Forum [Web log post]. Beskikbaar: Coloureds of Southern Africa have culture (life, influence, speak, living) – City-Data Forum [2022, 3 April].
Böhme, G. 1995. Atmosphäre: Essays zur neuen Ästhetik. Frankfurt am Main: Suhrkamp.
Böhme, G. 2007. Atmosphäre als Grundbegriff einer neuen Ästhetik, in T. Friedrich en J. Gleiter (reds.). Einfühlung und phänomenologische Reduktion: Grundlagentexte zu Architektur, Design und Kunst. Berlyn: LIT.
Botha, D. 1960. Die opkoms van ons derde stand. Kaapstad: Human & Rousseau.
Bradley, N. 2018. Essentialism in the Concept of Culture: Gauging Belief. Journal of Intercultural Communication, (21):1-21.
Bruinders, S. 2012. Parading respectability: an ethnography of the Christmas bands movement in the Western Cape, South Africa. Ongepubliseerde doktorale tesis. Urbana: University of Illinois.
Bruinders, S. 2017. Do the coloured people have a culture? LitNet [Elektronies]. Beskikbaar: Do the coloured people have a culture? – LitNet [2022, 13 Junie].
Cooks-Campbell, A. 2022. Code-switching: More common than you think and hurting your team. Betterup [Web log post]. Code-Switching at Work: What It Is and Why You Need to Understand It [2022, 2 Augustus].
Dargie, D. 1997. South African Christian Music: B. Christian Music Among Africans, in R. Elphick and R. Davenport (reds.). Christianity in South Africa: a Political, Social and Cultural History. Oxford: James Currey; Cape Town: David Philip.
Dicey, W. 2004. Borderline. Ongepubliseerde magistertesis. Kaapstad: Universiteit van Kaapstad.
Die Bybel. AFR53 weergawe. Beskikbaar: LUKAS 13 | AFR53 Die Bybel | YouVersion [2021, 3 Augustus].
Die Unie van Suid-Afrika Staatskoerant. 1950. Bevolkingsregistrasiewet 30 van 1950. Kaapstad: Staatsdrukker.
Dillon, M. 2018. Code-Switching Among Music Educators: An Exploratory Study. Ongepubliseerde doktorale tesis. Greensboro: University of North Carolina.
DuBois, W.E.B. 1904. The Souls of Black Folk. Cambridge: John Wilson & Son.
Dufrenne, M. 1973. The phenomenology of aesthetic experience (Vertaal deur E. Casey, A. Anderson, W. Domingo en L. Jacobson). Evanston: Northwestern University Press.
Engelbrecht, I. 2017. Kramer’s District Six – Kanala: why I am not laughing. SAMUS, 36/37:348-361.
Erasmus, A. 2019. Inhabiting the Edge: Code Switching as floating praxis, herri, [Elektronies], (2). Beskikbaar: herri.org.za [2023, 8 Maart].
Erasmus, Z. 2001. Re-imagining coloured identities in post-apartheid South Africa, in Z. Erasmus (red.). Coloured by History Shaped by Place: New Perspectives on Coloured Identities in Cape Town. Cape Town: Kwela Books.
Erasmus, Z. 2020. Race otherwise: forging a new humanism for South Africa. Johannesburg: Wits University Press.
Erlmann, V. 2005. Communities of style: musical figures of black diasporic identities, in I. Monson (red.). The African Diaspora: A Musical Perspective. New York: Garland Publishing Inc.
February, V. 1981. Mind Your Colour: The ‘Coloured’ Stereotype in South African Literature. Londen: Kegan Paul.
February, V. 1988. And Bid Him Sing: Essays in Literature and Cultural Domination. London: Kegan Paul.
Ferreira, D. 2020, Augustus 30. [Twitter] Beskikbaar: twitter.com [2022, 3 April].
Fourie, P. 2022. Mr Entertainment: the story of Taliep Petersen. Midrand: Lapa Publishers.
Froneman, W. & Muller, S. 2020. Music’s “non-political neutrality”: when race dare not speak its name, in J. Jansen & C. Walters (reds.). Fault lines: a primer on race, science and society. Stellenbosch: African Sun Media.
Gilroy, P. 1993. The Black Atlantic. Cambridge: Harvard University Press.
Gladwin, R. 2015. Charismatic Music and the Pentecostalization of Latin American Evangelicalism, in M. Ingalls en A. Young (reds.), The spirit of praise: music and worship in Pentecostal-Charismatic Christianity. Philadelphia: The Pennsylvania State University Press.
Glissant, E. 1989. Caribbean discourse: selected essays (Vertaal deur J. Michael Dash). Charlottesville: University Press of Virginia.
Gopal, I. 2018, 8 Oktober. Herkoms. My denke. [Web log post]. Beskikbaar: Herkoms | Ilze Gopal | My Denke [2022, 5 April].
Gray, L. 2013. Fado Resounding: Affective Politics and Urban Life. Durham: Duke University Press.
Han, S. 2015. Slavery as Contract: Betty’s Case and the Question of Freedom. Law & Literature, 27(3):395-416.
Hanse, M. 2020. Persoonlike onderhoud. 17 Julie, Stellenbosch (aanlyn via Microsoft Teams). [Opname in besitting van navorser].
Hanse, M. 2020. Persoonlike onderhoud. 22 Julie, Stellenbosch (aanlyn via Microsoft Teams). [Opname in besitting van navorser].
Hanse, M. 2020. WhatsApp-korrespondensie met navorser. 31 Maart.
Hanse, M. 2021. WhatsApp-korrespondensie met navorser. 24 April.
Hanse, M. 2022. Persoonlike onderhoud. 7 Maart, Stellenbosch.
Hanse, M. 2022. WhatsApp-korrespondensie met navorser. 18 Julie.
Hanse, M. 2023. WhatsApp-korrespondensie met navorser. 13 April.
Halberstam, J. 2013. The Wild Beyond: With and for the Undercommons, in S. Harney en F. Moten (reds.). The undercommons: fugitive planning & black study. New York: Minor Compositions.
Harney, S. en Moten, F. 2013. The undercommons: fugitive planning & black study. New York: Minor Compositions.
Hendricks, C. 2005. Debating Coloured Identity in the Western Cape. African Security Review, 14(4):117-119.
Hendricks, F. 2021. Persoonlike onderhoud. 24 Augustus, Kuilsrivier. [Opname in besitting van navorser].
Hendricks, F. 2022. WhatsApp-korrespondensie met navorser. 24 Oktober.
Hendricks, F. 2023. WhatsApp-korrespondensie met navorser. 18 Maart.
Hendricks, L. 2021. Persoonlike onderhoud. 24 Augustus, Kuilsrivier. [Opname in besitting van navorser].
Holtzman, G. 2017. Coloureds performing queer, or queer coloureds performing?: asserting belonging through queer behavior in Cape Town, South Africa. Ongepubliseerde doktorale tesis. Philadelphia: Universiteit van Pennsylvania.
Holzmüller, A. 2015. Between things and souls Sacred atmospheres and immersive listening in late eighteenth-century sentimentalism, in F. Riedel en J. Torvinen (reds.), Music as Atmosphere Collective Feelings and Affective Sounds. New York: Routledge.
Hopkins, C. 2015. Andraé Crouch, ‘Father Of Modern Gospel,’ Dies. National Public Radio [Aanlyn], 8 Januarie. Beskikbaar: Andraé Crouch, ‘Father Of Modern Gospel,’ Dies : NPR [2022, 4 April].
Ingalls, M. 2011. Singing heaven down to earth: spiritual journeys, eschatological sounds, and community formation in evangelical conference worship. Society for Ethnomusicology, 55(2):255-279.
Ingalls, M. 2015. Introduction: Interconnection, Interface, and Identification in Pentecostal-Charismatic Music and Worship, in M. Ingalls en A. Young (reds.), The spirit of praise: music and worship in Pentecostal-Charismatic Christianity. Philadelphia: The Pennsylvania State University Press.
Jacobs, C. 2020. “Race” by any other name would smell, in J. Jansen en C. Walters (reds.), Fault Lines: A primer on race, science and society. Stellenbosch: African Sun Media.
Johnson, R. 2004. South Africa: the first man, the last nation. Londen: Weidenfeld & Nicolson.
Jorritsma, M. 2011. Sonic spaces of the Karoo. The sacred music of a South African coloured community. Philadelphia: Temple University Press.
Jorritsma, M. 2016. Hidden histories of religious music in a South African coloured community, in S. Reily en J. Dueck (reds.), The Oxford Handbook of Music and World Christianities. New York: Oxford University Press.
Kamies, N. 2018. Shame and respectability: a narrative of inquiry into Cape Town’s ‘coloured’ families through photographs, cultural practices and oral histories (c.1950 to 2016). Ongepubliseerde doktorale tesis. Pretoria: Universiteit van Pretoria.
Karkkainen, V. 1998. Pentecostal hermeneutics in the making: On the way from fundamentalism to postmodernism. Journal of the European Pentecostal Theological Association, 18(1):76–115.
Kgatle, M. en Mofokeng, T. 2019. Towards a decolonial hermeneutic of experience in African Pentecostal Christianity: A South African perspective. HTS Teologiese Studies/Theological Studies, 75(4):1-7.
Kidula, J. 2015. Singing the Lord’s song in the spirit and with understanding: The Practice of Nairobi Pentecostal Church, in M. Ingalls en A. Young (reds.), The spirit of praise: music and worship in Pentecostal-Charismatic Christianity. Philadelphia: The Pennsylvania State University Press.
Klaver, M. 2015. Worship Music as Aesthetic Domain of Meaning and Bonding: The Glocal Context of a Dutch Pentecostal Church, in M. Ingalls en A. Young (reds.), The spirit of praise: music and worship in Pentecostal-Charismatic Christianity. Philadelphia: The Pennsylvania State University Press.
Lucia, C. 2002. Abdullah Ibrahim and the Uses of Memory. British Journal of Ethnomusicology, 11(2):125-143.
Martin, D. 2013. Sounding the Cape: Music, Identity and Politics in South Africa. Somerset-Wes: African Minds.
McCormick, K. 2002. Code-switching, mixing and convergence in Cape Town, in R. Mesthrie (red.). Language in South Africa. Cambridge: Cambridge University Press.
McKaiser, E. 2011. How whites should live in this strange place. South African Journal of Philosophy, 30(4):452-461.
Mesthrie, R. 1993. Nineteenth century attestations of English-Afrikaans code-mixing in the Cape. Language Matters, 24(1):47-61.
Mesthrie, R. 2002. Language in South Africa. Cambridge: Cambridge University Press.
Meyer, C. 2015. Griqua hymnody: a Musical ethnography of Griqua identity through song. Ongepubliseerde magistertesis. Stellenbosch: Universiteit van Stellenbosch.
Miller, M. en Strongman, K. 2002. The Emotional Effects of Music on Religious Experience: A Study of the Pentecostal- Charismatic Style of Music and Worship. Psychology of Music, 30(1):8–27.
Moten, F. 2018. Stolen Life – consent not to be a single being. Durham: Duke University Press.
Ndebele, H. 2012. A socio-cultural approach to codeswitching and code-mixing among speakers of isiZulu in Kwazulu-Natal: a contribution to spoken language corpora. Ongepubliseerde magistertesis. KwaZulu-Natal: Universiteit van KwaZulu-Natal.
Nel, J. 2003. Die musiek van die Apostoliese Geloofsending van Suid-Afrika (1908-1998). Ongepubliseerde magister-tesis. Stellenbosch: Universiteit van Stellenbosch.
Nel, M. 2015. Attempting to define a Pentecostal hermeneutics. Scriptura, 114(1):1–21.
Patel, A. 2010. Music, language, and the brain. New York: Oxford University Press.
Petrus, T en Isaacs-Martin, W. 2012. The multiple meanings of coloured identity in South Africa. Africa Insight, 42(1):87-102.
Pistorius, M. 2018. Eoan, assimilation, and the charge of ‘coloured culture’. SAMUS, 36-37(1):389-415.
Plüss, J. 2003. Religious experience in worship: A Pentecostal perspective. PentecoStudies, 2(1):1–21.
Poloma, M. 2003. Main Street mystics: the Toronto Blessing and Reviving Pentecostalism. Walnut Creek: AltaMira Press.
Radano, R. 1995. Soul Texts and the Blackness of Folk, Modernism/modernity, 2(1):71-88.
Radano, R. en Bohlman, P. 2000. Music and the racial imagination. Chicago: The University of Chicago Press.
Radermacher, M. 2021. “Not a Church Anymore”: The deconstruction and conversation of the Dominican Church in Münster (Westphalia, Germany). Material Religion, 17(1):1-28.
Riedel, F. 2015. Affect and atmosphere – two sides of the same coin?, in F. Riedel en Juha Torvinen (reds.), Music as Atmosphere: Collective Feelings and Affective Sounds. New York: Routledge Taylor & Francis Group.
Rive, R. 1986. ‘Buckingham Palace’, District Six. Cape Town: David Philip Publishers.
Röntsch, M. 2019. ‘I might seem out of place here’: Exploring Whiteness and Belonging in Hog Hoggidy Hog’s Oink!. SAMUS: South African Music Studies, 39(1):23-43.
Rubain, J. 2020. [Instagram] 9 Maart. Beskikbaar: instagram.com [2020, 9 Maart].
Rubain, J. 2020, 3 April. [Facebook] Beskikbaar: facebook.com [2022, 3 April].
Rubain, J. 2020. Persoonlike onderhoud. 2 September, Stellenbosch (aanlyn via Microsoft Teams). [Opname in besitting van navorser].
Schmitz, H. 1969. Der Gefühlsraum. Bonn: Bouvier.
Schmitz, H. 2012. Atmosphärische Räume, in R. Goetz, en S. Graupner (reds.). Atmosphäre(n) II. Interdisziplinäre Annäherungen an einen unscharfen Begriff. München: Kopaed. (Vertaler: Margret Vince, Hermann Schmitz, Atmospheric Spaces, Ambiances).
Schuster, J. 2016. Afrikaans on the Cape Flats: Performing cultural linguistic identity in AfriKaaps. Ongepubliseerde magistertesis: Universiteit van Stellenbosch.
Seekoei, C. 2020. Persoonlike onderhoud. 22 Julie, Stellenbosch (aanlyn via Microsoft Teams). [Opname in besitting van navorser].
Seekoei, C. 2022. Persoonlike onderhoud. 10 Junie, Stellenbosch (aanlyn via Microsoft Teams). [Opname in besitting van navorser].
Seekoei, S. 2019. Coloured… To Be Or Not To Be? “That’s The Question”. Kaapstad: Onafhanklik gepubliseer.
Seekoei, S. 2020. Persoonlike onderhoud. 17 Julie, Stellenbosch (aanlyn via Microsoft Teams). [Opname in besitting van navorser].
Seekoei, S. 2021. Persoonlike onderhoud. 17 Julie, Malmesbury.
Seekoei, P. 2021. Persoonlike onderhoud. 17 Julie, Malmesbury.
Seekoei, S. 2022. WhatsApp-korrespondensie met navorser. 5 Junie.
Sello, L. 2018. A close reading of the opera Mandela trilogy, with a special focus on the performance of Mandela’s masculinities. Ongepubliseerde magistertesis. Potchefstroom: Noord-Wes Universiteit.
Slabbert, S. en Finlayson, R. 2002. Code-switching in South African townships, in R. Mesthrie (red.). Language in South Africa. Cambridge: Cambridge University Press.
Spivak, G. 1988. Can the Subaltern Speak?, in C. Nelson en L. Grossberg (reds.), Marxism and the Interpretation of Culture. London: Macmillan.
Stone, G. 1995. The lexicon and sociolinguistic codes of the working-class Afrikaans-speaking Cape Peninsula coloured community, in R. Meshtrie (red.), Language and social history. Studies in South African sociolinguistics. Cape Town and Johannesburg: David Phillips.
Taylor, P. 1997. Funky white boys and honorary soul sisters. Michigan Quarterly Review, (36):320-336.
Thompson, R. 2015. The production of gospel music: An ethnographic study of studio-recorded music in Bellville, Cape Town. Ongepubliseerde magistertesis. Kaapstad: Universiteit van Kaapstad.
Thompson, L. 2014. A history of South Africa. Vierde uitgawe. New Haven: Yale University Press.
Titon, J. 1995. Bi-musicality as metaphor. The Journal of American Folklore, 108(429):287-297
Trantraal, N. 2018. Wit issie ’n colour nie. Aangedrade stories. Kaapstad: Kwela Boeke.
Turner, S. 2015. Andraé Crouch Obituary. The Guardian [Aanlyn], 12 Januarie. Beskikbaar: Andraé Crouch obituary | Pop and rock | The Guardian [2022, 4 April].
Van der Ross, Richard. 1979. Myths and Attitudes. An Inside Look at the Coloured People. Cape Town: Tafelberg.
Van Dulm, O. 2007. The grammar of English-Afrikaans code switching A feature checking account. Ongepubliseerde doktorale tesis. Nijmegen: Radboud Universiteit.
Venter, A. 1974. Coloured: A profile of two million South Africans. Kaapstad: Human & Rousseau.
Walker, A. 2013. Oppressed hair puts a ceiling on the brain, uit Alice Walker: Living by the Word. Selected Writings, 1973-87. Beskikbaar: Oppressed Hair Puts a Ceiling On the Brain – Alice Walker | The Official Website for American Novelist & Poet [2022, 3 April].
Wicomb, Z. 1998. Shame and identity: the case of the coloured in South Africa (1995-98), in Z. Wicomb en A. Van der Vlies (reds.). 2018. Race, nation, translation: South African essays, 1990-2013. New Haven: Yale University Press.
Zakay, A. 2021. Persoonlike onderhoud. 11 September, Stellenbosch (aanlyn via Microsoft Teams). [Opname in besitting van navorser].
YouTube videos
Alton Zakay – Sterk Toring [Official Music Video], 3 Maart 2019. Beskikbaar: Alton Zakay – Sterk Toring [Official Music Video] [2022, 3 Junie].
Bill & Gloria Gaither – O, the Blood of Jesus/Nothing But the Blood/Near the Cross (Medley) [Live], 7 September 2012. Beskikbaar: Bill & Gloria Gaither – O, the Blood of Jesus/Nothing But the Blood/Near the Cross (Medley) [Live] [2022, 21 Oktober].
Chris Tomlin – How great is our God, 25 Maart 2016 [Video file]. Beskikbaar: Chris Tomlin – How Great Is Our God (Live) [2022, 3 Junie].
Die huis diens-koortjies-Wie is hy wat op die water loop, 23 September 2020. Beskikbaar: Die huis diens-koortjies-Wie is hy wat op die water loop [2022, 5 April].
Jesus Christus verbaas my elke dag, 31 Maart 2020. Beskikbaar: Jesus Christus verbaas my elke dag [2022, 21 Oktober].
Jonathan Rubain – “God sorg vir die mossies”, 26 Mei 2018. Beskikbaar: Jonathan Rubain – “God sorg vir die mossies” [2022, 13 Desember].
Joyous Celebration – Spring In (Live at Vista Campus – Bloemfontein, 2010), 23 April 2021. Beskikbaar: Joyous Celebration – Spring In (Live at Vista Campus – Bloemfontein, 2010) [2022, 3 Junie].
Michael W. Smith – Agnus Dei, 17 Julie 2007 [Video file]. Beskikbaar: Michael W. Smith – Agnus Dei [2022, 3 Junie].
Neville D – Die Here is Kwai – Live at Digital Forest Studios, 4 Oktober 2019. Beskikbaar: Neville D – Die Here is Kwai – Live at Digital Forest Studios [2022, 18 Oktober].
Neville D – Ek Vertel Jesus ft Simon Seekoei, Tommy Saaidien (SongStory), 29 Oktober 2015. Beskikbaar: Neville D-Ek Vertel Jesus ft Simon Seekoei,Tommy Saaiden (SongStory) [2022, 8 November].
Neville D – Koortjie Battle Ft. Jonathan Rubain, 11 Desember 2016. Beskikbaar: Neville D – Koortjie Battle Ft. Jonathan Rubain [2019, 29 September].
Only You Are Holy, 8 November 2014. Beskikbaar: Only You Are Holy [2022, 21 Oktober].
Pinkster, 24 Januarie 2018. Beskikbaar: Pinkster [2022, 13 Desember].
Pinkster koortjie by Dawid Botha, 1 September 2019. Beskikbaar: Pinkster koortjie by Dawid Botha [2022, 13 Desember].
SAN (Bushman) Healing Dance Botswana Africa, 3 Februarie 2012. Beskikbaar: SAN (Bushman) Healing Dance Botswana Africa, 2012. [2022, 13 Desember].
Stuur my, ek sal gaan, 3 Januarie 2022 [Video file]. Beskikbaar: Stuur my, ek sal gaan [2022, 3 Junie].
We See A New South Africa by Pastor Simon Seekoei and The Community Singers, 5 Augustus 2016. Beskikbaar: WE SEE A NEW SOUTH AFRICA by PASTOR SIMON SEEKOEI AND THE COMMUNITY SINGERS [2021, 1 September].
Social media
Rubain, J. 2020. [Facebook post] 3 April. Beskikbaar: www.facebook.com [2020, 5 April].
Rubain, J. 2021. Jonathan Rubain was live with Simon Seekoei [Facebook video file] 30 Junie. Beskikbaar: www.facebook.com [2021, 1 Julie].
Shepherd, K. 2020. [Facebook post] 5 April. Beskikbaar: www.facebook.com [2022, 15 Julie].